Shot simultaneously with his masterpiece JE SUIS A PRENDRE, the lasciviously moniker-ed LECHE-MOI PARTOUT (which literally means LICK ME EVERYWHERE but was officially re-titled SERVICES RENDERED for stateside distribution) is often considered as one of the late lamented Francis Leroi's worst film-making endeavors. Though an obvious rush job, this assessment seems somewhat unfair as it goes a long way to show that, even in his least ambitious mode, the director strove to give audiences a "proper" picture, nicely produced and with a semblance of acting, its simple premise seen through to the end. That last sentence might very well serve as a capsule review of this film, for which Leroi liberally borrowed time-tested elements from popular French boulevard theater whose ooh la la plays frequently focused on frantic bed hopping anyway and reduced them to some sort of bare bones structure that was to become a staple ingredient of Continental 'core for the remainder of the decade, paving the way for Jean-Claude Roy's LES NYMPHOMANES and Claude Bernard-Aubert's DROIT DE CUISSAGE to name but two of the more effective examples.
The virile male exhausted by a group of insatiable and increasingly demanding females is a theme that bridges the gap between these stage farces and their pornographic variations. Cat burglar Jean-Pierre Armand, achingly fresh-faced at this very early stage of a performing career that continues to this very day, is caught in the act by lady of the house Samantha (a minor starlet also in Bernard-Aubert's scorching LA RABATTEUSE) and forced to service her at gunpoint. A subsequent orgy sequence, missing from its most recent otherwise flawless DVD incarnation as part of a 3 film Leroi line-up (along with CHARLOTTE MOUILLE SA CULOTTE and the wonderful PLAISIRS SOLITAIRES), reveals this as a "B side" effort as the participants are the same as in the brothel scenes from JE SUIS A PRENDRE. Making a run for it with best buddy Richard "Bigotini" Deconinck, a character actor best known from countless Jess Franco films, he applies for a position as chauffeur at the mansion of a recently passed away millionaire. Thus he becomes both servant and sexual plaything to a trio of women who all claim to be the dead guy's widow : thirty-something matron Monique Carrère (a statuesque Gérard Kikoïne regular in ENQUETES, INITIATION AU COLLEGE and LA CLINIQUE DES FANTASMES), glowing Karine Gambier in all of her mid-twenties splendor and one shot (discounting JE SUIS' repeat footage) Lydie Beggy as a precocious teenager. On top of this lot, there's also a frisky maid whose character inspired the movie's most familiar retitling as LA SERVANTE PERVERSE, played by the incomparable Agnès Lemercier (a/k/a "Jenny Feeling" or "Eva Paurey"), one of those few formidable French adult film actresses who can project a sophisticated air of mystery as evidenced by Leroi's JOUISSANCES PERVERSES and Kikoïne's ENTRECHATTES.
The scene set for plentiful porn shenanigans, it's surprisingly up to the inexperienced Beggy to perform the flick's dirtiest diversions, accommodating Armand both orally and rectally yet reserving her maidenhead for a bowling pin ?! Apparently, the director conceived this as something of a star vehicle for her and the fact that she holds her own against such overbearing competition suffices to make one regret that she subsequently called it quits. One of the industry's then most underrated ladies, Gambier is once again sadly under-used here, a Limo backseat quickie comprising the extent of her intimate involvement. Still, lovely Lemercier beautifully rises to the occasion with her exquisitely erotic wake up call, teasing the tireless Armand member to full erection using a feather, and a brief but spirited tumble with coal delivery guy Gérard Grégory, a reliable second string stud (especially noteworthy in Bernard-Aubert's RETOUR DES VEUVES) as well as a decent fornication filmmaker in his own right with the melancholy ADOLESCENTES AU PENSIONNAT and the hard-edged L'EDUCATRICE.
Both contracted to work on the for hardcore relatively high profile JE SUIS A PRENDRE, extremely talented DoP François About works his usual magic, especially in the outdoors sequences, and "Dourret Parras" (actually 2 composers : Jean-Pierre Pourret and Dany Darras, both regular Leroi cohorts) contributes another quirky score that magnificently complements the action while sounding very much unlike your average porno soundtrack. The latter also composed for a barely remembered gay adult film called D'HOMMES A HOMMES and attributed to one "Gréco De Beau-Paris", a curious credit as it was produced (and possibly directed) by Leroi and starred straight-identified performers Benoît Archenoult and Ghislain Van Hove.
The virile male exhausted by a group of insatiable and increasingly demanding females is a theme that bridges the gap between these stage farces and their pornographic variations. Cat burglar Jean-Pierre Armand, achingly fresh-faced at this very early stage of a performing career that continues to this very day, is caught in the act by lady of the house Samantha (a minor starlet also in Bernard-Aubert's scorching LA RABATTEUSE) and forced to service her at gunpoint. A subsequent orgy sequence, missing from its most recent otherwise flawless DVD incarnation as part of a 3 film Leroi line-up (along with CHARLOTTE MOUILLE SA CULOTTE and the wonderful PLAISIRS SOLITAIRES), reveals this as a "B side" effort as the participants are the same as in the brothel scenes from JE SUIS A PRENDRE. Making a run for it with best buddy Richard "Bigotini" Deconinck, a character actor best known from countless Jess Franco films, he applies for a position as chauffeur at the mansion of a recently passed away millionaire. Thus he becomes both servant and sexual plaything to a trio of women who all claim to be the dead guy's widow : thirty-something matron Monique Carrère (a statuesque Gérard Kikoïne regular in ENQUETES, INITIATION AU COLLEGE and LA CLINIQUE DES FANTASMES), glowing Karine Gambier in all of her mid-twenties splendor and one shot (discounting JE SUIS' repeat footage) Lydie Beggy as a precocious teenager. On top of this lot, there's also a frisky maid whose character inspired the movie's most familiar retitling as LA SERVANTE PERVERSE, played by the incomparable Agnès Lemercier (a/k/a "Jenny Feeling" or "Eva Paurey"), one of those few formidable French adult film actresses who can project a sophisticated air of mystery as evidenced by Leroi's JOUISSANCES PERVERSES and Kikoïne's ENTRECHATTES.
The scene set for plentiful porn shenanigans, it's surprisingly up to the inexperienced Beggy to perform the flick's dirtiest diversions, accommodating Armand both orally and rectally yet reserving her maidenhead for a bowling pin ?! Apparently, the director conceived this as something of a star vehicle for her and the fact that she holds her own against such overbearing competition suffices to make one regret that she subsequently called it quits. One of the industry's then most underrated ladies, Gambier is once again sadly under-used here, a Limo backseat quickie comprising the extent of her intimate involvement. Still, lovely Lemercier beautifully rises to the occasion with her exquisitely erotic wake up call, teasing the tireless Armand member to full erection using a feather, and a brief but spirited tumble with coal delivery guy Gérard Grégory, a reliable second string stud (especially noteworthy in Bernard-Aubert's RETOUR DES VEUVES) as well as a decent fornication filmmaker in his own right with the melancholy ADOLESCENTES AU PENSIONNAT and the hard-edged L'EDUCATRICE.
Both contracted to work on the for hardcore relatively high profile JE SUIS A PRENDRE, extremely talented DoP François About works his usual magic, especially in the outdoors sequences, and "Dourret Parras" (actually 2 composers : Jean-Pierre Pourret and Dany Darras, both regular Leroi cohorts) contributes another quirky score that magnificently complements the action while sounding very much unlike your average porno soundtrack. The latter also composed for a barely remembered gay adult film called D'HOMMES A HOMMES and attributed to one "Gréco De Beau-Paris", a curious credit as it was produced (and possibly directed) by Leroi and starred straight-identified performers Benoît Archenoult and Ghislain Van Hove.
